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20131202
20131210
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hi, i'm paul hewitt, the author of conceptual physics. you know, physics is a study of nature. the way things connect to one another. and these connections are underlined by the concepts, concepts which are beautifully expressed mathematically. but the focus of conceptual physics will be the beauty of these concepts in english. the equations of physics will be seen as guides to thinking, much more than recipes for numerical problem solving. so the idea is the comprehension of concepts first and then computations later. ideally, in the laboratory where they're really meaningful. this tape you're looking at right now is the first. it's the intro of a series of more than 30 tapes. and this is a long step from where i started: video one of one my classes. that's like back in 1974. let's take a look at my class as it looked like in 1974. enjoy. matt, you wanna come here and try this? could i have one other volunteer, please, to pick up the anvil and put it on my head--chest? [laughter] right here. no, no, no, yeah-- right over here. [laughter] yeah. around--yeah. okay. yeah. that's
notice that, paul? what are the new fire trucks? they used to be red. what are the new ones? - yellow green. - yellow green. and why they be yellow green, honey, huh? why? because you want to see those things coming down the road. and so they find you and said, "hey, let's paint them a color that human beings can see the most." and, yeah. do you notice the color of your street lights? what color they'd be, gang? - yellow. - yellow. a little greenish, a little yellow greenish, mostly yellow, right? why the streetlights yellow? they used to be incandescent lamps that used to glow white. now, they're making them yellow. one strong reason it has to do with, guess what we can see most? yellow and green. let's suppose you got a hundred-watt lamp, and it's white. and you're saying that a lot of this is coming out, and a lot of this too, right? so you're spreading it along all of that, right? let's suppose you got a hundred-watts only of this. how about your eye, honey? you're gonna see more light, because it's hitting right where you can see best. now, those yellow lamps aren't very good for
time he was 16, his skill and talent aowed h to join the workshop of eleing, peter paul rubens. rubenscomplex compositions, such as these with their sculpturally modeled figures, greatly influenced the young artist. but even in van dyck's earliest works we see the artist's ow distinctive ylemerging. he painted this scene of st. jerome when heas about 16. instead of the heroic figures rens, van ck chose to show the hermit saint as a man past s prime. though van dyck based his composition on a work by ruben the young artist painted it difrently, applying his paint thickly with rough, broken strokes, exaggerating the naturalism of the biblical scene. in another version of the same subjec painted just a few years later, van dyck portrays st. jerome in y a different manner. in a moment of deep religious fervor, the saint is about to strike his chest in penance ( o) this interesin psyogical intensity, human emotis, and cral momen wou mark v dyck'wo ughout h career. van dyck again looked to a work by rubens for inspiration. but once again, he interpreted the story in his own manner.
Search Results 0 to 2 of about 3